Utilizing a plethora of instruments and influences, A Lot Like Birds have crafted one of the finest and most unique albums post hardcore has had the pleasure of calling its own in years. A roller coaster of passion.

The grand finale to the Warren of Snares trilogy, Inle is Fall of Efrafa at their strongest musically and lyrically. It combines the hardcore elements of their debut and the sludgier and post rock elements of their sophomore effort into an album that encapsulates all that they are in an immensely crushing atmosphere with an intelligent message to boot. "We can account for the scars in our sides, yet we are not privy to the thoughts that we discard"

The first in a trilogy of concept records, Owsla finds Fall of Efrafa flexing their crust and hardcore roots to great avail. While they only rarely delve into post rock on this record, it shows a primitive version of what was to come in the later years. Recommended to fans of hardcore with intense atmosphere.

The second record in the Warren of Snares trilogy, Elil features three songs each clocking in near 20 minutes and is certainly Fall of Efrafa's least accessible effort. Abandoning their crust roots, Elil is a much sludgier hardcore affair with large doses of post rock thrown in to even out the heavy with the soft. For El-Ahraihrah to Cry is arguably the greatest song Fall of Efrafa ever wrote. "Cloying at our arms, eyes wet with tears, but we will not cry for you. We will not cry for you..."

With absolutely stellar instrumentation, Hot Cross crafted a screamo classic with Cryonics. Featuring technical guitar work that was unlike most bands at the time, Cryonics is easily comparable to Hot Cross' parent bands in terms of sheer quality. The only downside to this album could be the vocal performance and the odd choice of guitar effects in a few brief instances. The vocals lack a distinct punch and feature very off rhythms that more often than not sound overly forced. Vocalist Billy would find a much more powerful voice on Hot Cross' sophomore effort Risk Revival, but with a considerable drop in musical quality. Cryonics ranks with the genres finest.

With a jaw dropping jump in song writing skill in comparison to their prior EPs, Loma Prieta find themselves not reinventing the wheel with their full length debut, but providing a kick to the face of anyone who said the genre died at the turn of the century. Raw production and instantly memorable riffs with complex song structures not found on any of their releases prior or after help ensure that this is one memorable LP that helped put Loma Prieta at the forefront of the screamo revival.

Maturing considerably from Menos El Oso, Planet of Ice finds Minus the Bear at their absolute peak in terms of song craftsmanship. The songs are still about sex and the guitars still consist of gratuitous finger tapping, but there is a new found confidence in the band. Minus the Bear leaves behind much of their indie sound with the quirky song titles and relaxed nature in favor of focused structure and driving rhythms. Unfortunately, the bands two following releases bear absolutely no resemblance to this brief glimpse at maturity instead opting to become a pop band with the occasional complexities, but this album is a fine testament to what could have been. "What have you done?"

Breathing new life into its genre, Modern Life is War's Witness is one of the definitive melodic hardcore records of the 00's. Dealing with hopeless and depression, the lyrics are intelligent and easy to relate to while being backed by complimentary instrumentation. Having influenced many bands after, none quite achieved the greatness found on the original.

At times hauntingly dark and other times frighteningly beautiful, French band Sed Non Satiata's self-titled record stands as a testament to some of the finest post-rock infused screamo ever crafted. The record twists and turns, intertwining aggressive passages and ambient beautiful moments even going so far as to include excellent clean vocals, a rare occurrence in screamo. If ever there were an argument to European screamo containing the genre's best, this is it.

Is it possible to release the album of your career 8 years in with your 5th full length? The Chariot make it possible. With 2010's Long Live, the Chariot proved they were no one trick pony forever destined to live in Norma Jean's shadow and they blew fans away with their progression and raw intensity. One Wing follows that groundwork laid by Long Live and takes it even further, pummeling the listener with absolutely crushing and heartfelt hardcore that isn't afraid to think outside the box.

Never wanting to tread the same ground twice, Vheissu scales back the guitar work in favor of adding atmospherics with the aid of post rock influence and electronic elements, thus creating a brand new sound for Thrice while still retaining their own unique voice. Many of the songs found here contain not only some of the softest moments in Thrice's discography up to this point, but also some of the heaviest. Their masterpiece.

Practicing a tried and true formula, Who Calls So Loud certainly aren't unique with their brand of post rock infused screamo but their self titled record almost demands to be heard simply for the sheer beauty of What I Learned in the C.O.U.M. Their crescendos certainly aren't as intense as some of their genre mates and the payoffs aren't as powerful, but Who Calls So Loud is bridled with passion, and that is sure to please any fan of the genre. "A year ago I would have fallen apart, but not today. Not anymore."

Streamlining the ideas found on Plan B, A Lot Like Birds have crafted an entirely new but equally beautiful beast. This is an album that absolutely stands on its own without regard for the prior release but is every bit as enjoyable.

Being highly influenced by Modern Life is War, Defeater bring us an amazing concept record that tells the tale of loss and depression not just through the music, but the lyrics too in a genuine manner. Featuring stellar instrumentation and vocals, this ranks with melodic hardcores best and shows a concept record done correctly.

Having matured considerably since their debut and featuring Converge's own Kurt Ballou behind the studio monitor, Songs to Scream at the Sun is a record that would fit right in with the rest of Deathwish Inc's roster. With a sound that is highly influenced by Modern Life is War, Have Heart prove why they were so highly regarded during their short lived existence with their own personal coming of age story.

With Light Bearer's debut full length, they have released the first in a trilogy of concept albums of epic proportions. With lyrics that can be appreciated entirely separate from the music, an absolutely soul crushing atmosphere that is beautiful at the same time, this is a record that deserves to be on any music fans top 2011 releases.

Melding post rock and screamo is certainly nothing new, but Glasgow's Mesa Verde do it exceptionally well. With absolutely raw aggression and passion, The Old Road demands to be heard, if not for Post-Youth alone, for how strikingly personal and unbridled it is.

Not often will you find a band releasing their best effort six albums into their career, but that's exactly what progressive thrash act Nevermore have done with This Godless Endeavor. With stellar guitar work from the riff machine that is Jeff Loomis, an impeccable rhythm section and the always powerful and awe inspiring Warrel Dane, This Godless Endeavor finds Nevermore's song writing abilities at their peak, being rivaled only by Dreaming Neon Black. Unfortunately, the band fell off after this release with the absolutely lackluster Obsidian Conspiracy before calling it quits.

The most underrated Pig Destroyer release to date, Natasha is an absolute beast that features a single song clocking in at almost 38 minutes. The long track length makes this incredibly inaccessible but if you take the time to become absorbed into the song with the lyrics, you will find an engrossing tale of love and revenge that ends in horror with the perfect music to compliment it. Ranging from ambient sounds to grindcore to straight doom metal, Natasha deserves more credit than it gets. The only Pig Destroyer release thus far to feature a bass guitar and easily J.R's finest lyrics that he will surely never top. "The end is moving into sight. I gasp and I scream as I see her lovely mouth five times the size of me. Her lips curl into a grin around her crooked gnashing teeth. I'm pulverized and devoured in the jaws of a girl seventeen"

A rock and roll album through and through, Songs for the Deaf oozes style and sex appeal in an accessible manner. Featuring tight instrumentation from all parties involved, this is without a doubt Queens of the Stone Ages finest record to date.

Suis La Lune's Heir EP does in four tracks what most bands hope to do their entire careers and that is blow the listener away. Though the vocals are lacking, Heir features absolutely beautiful instrumentation that yields new details with each listen and is quite accessible for it's genre. Suis La Lune at their best.

Though none of the individual elements are particularly remarkable, they all come together to form a record that is everything rock and roll embodies. From the punk inspired riffs, to the shouted vocals that tell the tale of love, booze and rock idols, this is an album that just hits home.

While the instrumentation is certainly fantastic, it is the outstanding vocal performance and lyrics that make this album greater than it otherwise would be. Much like the cover, this album is cold in atmosphere and perfectly suits the subject matter.

While the instrumentation may not be up to par with many of the mathcore greats, this four piece released an absolutely pummeling record with a vicious performance from all members. Listen to the manic spoken word on the closing track and try to tell me that doesn't get your bones moving.

In two years, Light Bearer managed to release one full length, one EP and one split, each one building upon the last showcasing just what the band could do. Enter Silver Tongue, technically only the bands sophomore effort. It largely builds upon the ground work laid prior, expanding on it in subtle ways, such as the use of orchestras and keys. Silver Tongue has a decidedly darker atmosphere than Lapsus but it is as equally beautiful as it is crushing. How the band managed to top Lapsus is a feat in itself.

I was expecting some post-metal and instead I got dark keyboard driven prog rock, in a good way. I am pleasantly surprised. The production is a little muddy, the keyboard sounds a little cheesy and I think having some guitars would have made the sound thicker but but the writing is great overall. This very much feels like a rock opera which I believe it is, though I didn't read the lyrics :[rIf I could give it decimals, I'd say a 3.8

A throw back to 80's thrash and metal in general, Newsted's Metal EP boasts four tracks in 20 minutes and is just that; Metal up your ass. It suffers from the occasional missteps with poor riffs or bland drumming but overall, the album largely succeeds in being a fun ride with great vibes and is a nice indication of the future for the trio.

Solid composition and guitar playing that is marred only by it's weak production and programmed drum work. There is definitely promise behind this though and I look forward to the improvements that come with the next release. Album Highlight: Summer Skies

With bland instrumentation, the stellar vocal performance just isn't enough to make this album worth much. There are bands that do it better and even the bands they are compared to are far out of their league. Still, as a debut this is enjoyable. Hopefully their next release improves.

I'll always remember these guys as the band that made one amazing LP, one great EP and then turned to shit faster than I could blink my eyes. Letters Home features stellar drumming as always but is marred by horrible production and uninspired playing from the other four members. Keeping it classy, gents

After having had A Collection of Songs for years and thinking it was brilliant, finally getting around to listening to this was beyond disappointing. I am extremely grateful most of these tracks were rerecorded so they could see their full potential on the next release.

With their first new full length in 14 years, the otherwise superb Murder City Devils create their first misstep in their cult legacy. While the band still has an abundance of energy in them as evidenced by their fury and Spencer Moody's ageless vocals, the songs are sloppy and jump all over the place. This is in part due to the albums piss poor production, causing the entirety of the album to sound like a reverberated mess of claustrophobic proportions.